Newton's Law

Alfonso Cuaron just might be the best director you’re vaguely aware of. Part of Mexico’s “Three Amigos of Cinema” alongside Guillermo del Toro (Hellboy, Pacific Rim) and Alejandro Gonzalez Inarritu (Babel, Biutiful), Cuaron has been around for quite a while but doesn’t quite have the name recognition as the other two filmmakers. The box office holds this to be true, and despite critical acclaim A Little Princess, Y Tu Mama Tambien and Children of Men all failed to garner anything in terms of significant audiences. Only his contribution to the Harry Potter franchise, The Prisoner of Azkaban, was a legitimate hit, though it's safe to assume that was more due to the enormously popular subject matter than the artist at the helm, and in fact it stands as the lowest-grossing title in the series. Sadly, Cuaron's name is one better appreciated by the insiders and producers in Hollywood and niche film enthusiasts than by mainstream audiences. But if there were ever a movie that I would think would buck the trend and drive people to the theaters to see an Alfonso Cuaron motion picture, it would be (and should be) Gravity.

Dancing in space: not as fun as it might appear.

Written by Cuaron and his brother Jonas, Gravity is essentially a shipwreck movie set in space, as astronauts Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) are stranded in the bleak emptiness outside our atmosphere after a catastrophic event destroys their space shuttle and kills all other souls aboard. With no communication with Houston, rapidly dwindling oxygen and only vast nothingness as witness to what they experience, Stone and Kowalski must make a few desperate gambits if they ever want to see their homes again.

Sandra Bullock; in space, no one can hear you whine.

Unlike many science fiction blockbusters, Gravity confidently grounds itself in reality, and at times you’ll wonder just how Cuaron managed to capture shots without actually filming in orbit. Visuals of Earth and space are absolutely gorgeous, even as disasters (like the debris shower that sets up the story) blow everything to smithereens. This is not just one of few titles I would impress potential viewers to see in 3D, but also for IMAX screenings, as the expansive visuals alone would be worth the ticket price. Cuaron’s innovative and ingenious methods to filming the actors in a seeming zero gravity mean you’re never taken out of the story due to grievous physics errors. The science does have a few missteps, but worry not, purists, as the errors are minor and help keep the narrative moving smoothly.

Boom.

But while the imagery is indeed excellent, Cuaron is not the type of filmmaker to rely on visuals alone. As a director, he buries within its seemingly simply narrative of survival elements of spirituality, isolation, and the difference between the vastness of space and claustrophobic environment suits humans are forced to wear in order to continue existing out there. In addition, he borrows from and pays homage to several of the "disaster in space" films that have come before him, from Apollo 13 to Alien to Wall-E, with none of it feeling forced or derivative. The director is smart enough to know that film-going enthusiasts will not be sustained by tension alone (and Gravity has it in spades), and he weaves a solid story and character study into what would otherwise have been a fairly straightforward movie.

Don't you miss the days of "working on the railroad"?

In fact if there's anything disappointing about Gravity, it's the actors, though perhaps not for the reasons you would think. Cuaron also realized that this kind of movie would need heavy hitters in the main roles (there are a few voiceover parts, but it's essentially a two-person job) if it were to have any chance of success, and although Bullock and Clooney were not the prime choices (Robert Downey Jr. was originally attached, and Marion Cotillard, Scarlett Johansson and Natalie Portman were all tested or offered the gig), they play their roles almost as if the parts were written specifically for them. That's where the problem lies, as neither actor feels ousted from their comfort zone as performers. We've seen Sandra Bullock hyperventilate, complain and freak out before. In most of her films, in fact. And Clooney's smooth-talking "I know what I'm talking about" demeanor has existed pretty much since he popped into the world. Neither is put in new territory, and while they both do excellent work, it's not as if they had to try very hard to get there.

George is a hit with the ladies even in deep space

But that's the only real issue I had with this otherwise flawless gem. With a gripping tale, astounding special effects and even a wonderful, haunting soundtrack by Steven Price, Gravity is not just an amazing experience, but by far the best movie released this year. While it wouldn't be technically correct to call it the "District 9 of 2013", this is arguably the best science fiction film of the past decade, right up there with Moon and Sunshine and of course the aforementioned District 9. Will it remain the best movie of the year? The next few months offer some promising alternatives, from Steve McQueen's 12 Years a Slave to Martin Scorcese's The Wolf of Wall Street to the Coen Brothers' Inside Llewyn Davis, among others. But most people already know how good those directors are. This is Cuaron's year, as mainstream fans are finally getting around to the idea that he is a great filmmaker whose work deserves to be seen. Gravity is just the latest example.

Up in the Family Tree

I finally saw the George Clooney vehicle The Descendants this past week. Why has it taken me so long to get around to seeing a title nominated for several industry awards and listed on dozens of best of 2011 lists? Well, ever since trailers started appearing this past fall (and it feels even longer ago than that) I can't say was all that impressed with the material or reasons presented for seeing this motion picture. Well, to be honest, there was only one thing about the film that really turned me from seeing this as soon as it came out: director Alexander Payne. Payne is an acclaimed director, but his previous films Sideways and About Schmidt, which his latest trailer are quick to mention, are not nearly the amazing releases that so many have celebrated over the years. Jack Nicholson practically SAVED About Schmidt from itself, and there wasn't one non-detestable character in Sideways. So here we come to The Descendants, a film that looks good on paper but has the demerit of including Payne as its main creator. Still, there was no way I was going to miss seeing this title amid the awards season, and so when the opportunity came to see it this past week with my family, I begrudgingly accepted. I'm glad I did, as I can easily say that The Descendant deserves its place among 2011's best.

We solve crimes

Taking place in urban Hawaii, The Descendants introduces us to Matt King (George Clooney), who is as worn down a man as you can find in the state of Hawaii (where the story takes place). His wife is in a coma from a boating accident, leaving Matt in the dubious situation of raising his two daughters Alex (Shailene Woodley) and Scottie (Amara Miller) by himself while she recovers. Matt is also the trustee of a family trust that controls 25,000 acres of land, which the family must sell due to the rule against perpetuities. The family was just about ready to sell the land when Matt's wife had the accident, and as the sole trustee, Matt has been trying to decide what to do about it. Doctors have told Matt that his wife is not going to wake up again, and by her own instructions the doctors are going to take her off life support, meaning she's only days away from passing. Now he is traveling around Hawaii, telling family and a few close friends about what is happening so that they can say their goodbyes. Alex has no interest in talking about mom, however, and when Matt confronts her on this, she reveals a secret he never knew; his wife was cheating on him with another man.

He might be a lesser-known Bridges, but he has his brother's hair

What separates The Descendants from its predecessors is that there are no gimmicks to detract from the story or message. This might be thanks to the source material, in this case the novel of the same name by Kaui Hart Hemmings, which I've never read but has doubtlessly become more popular since this film's release. Unlike in his previous efforts, Payne's characters FEEL genuine and three dimensional, with no stilted cliches mixed in. Matt's wife, played by Patricia Hastie, doesn't have a single line of dialogue, and yet is STILL completely characterized through the people who know her. This depth of character is what separates The Descendants from many of its contemporaries, and really draws you into the story, which without that depth might be far less impressive than it turns out. Another nice touch is the scoring. While we're told early on that living in Hawaii is the same as living anywhere else and is not really the "paradise" many call it, one unique aspect is the amazing soundtrack full of authentic Hawaiian music. This is the first American film to be scored entirely with that state's traditional music, and tunes from masters like Gabby Pahinui, Raymond Kane, and Keola Beamer are perfectly set against he beautiful sunsets and sandy beaches of many a person's vacation destination. While I wouldn't recommend listening to the music by itself (it's slowly paced and only for true fans of the genre) it does make an amazing accompaniment to the main show.

How much product to you think he puts in that mop, anyway?

Of course, those aforementioned deep characters would be nothing if not for the amazing acting in portraying them. There's no surprise that the best are Clooney and Woodley as the troubled and disconnected father and daughter, who each undergo transformations throughout the course of the story. Clooney is (as he always is these days) brilliant, but I was really lifted by the strength of Woodley's performance. 2011 proved to be a breakout year for several actors, and the Secret Life of the American Teenager star proves she has what it takes to be a lasting presence in mainstream film for years to come. Many of the side characters are played expertly by veteran performers, including standouts like Robert Forester as Matt's stern father-in-law and Judy Greer as a woman Matt meets while traveling the state. Another young prodigy is Nick Krause as Alex's friend Sid, a mouthy neanderthal of a teen who turns out to be more perceptive and helpful than he at first lets on. And Beau Bridges is masterful as Matt's cousin, one of the many who will benefit from the sale of the land. While he only appears in a couple of scenes, Bridges masterfully commands his scenes and is only behind Clooney and Woodley in terms of pure screen presence.

No backseat driving!

The film does have a few issues, however those that exist are nowhere near what I was expecting. The film does meander in a few locations, though those are thankfully easy to ignore. The biggest issue I had with the film was the opening monologue consisting of Clooney's voice over to set the story in motion. With the actor going on for seemingly ten minutes to start the film, I was afraid that Payne would take a "tell" instead of "show" approach when it came to storytelling. Thankfully, that voice work ends completely after story setup is finished, and the rest of the film is told from a far more subtle perspective, with character interaction, visual imagery and deft facial expressions moving us forward. Never are we confused as to what is going on, though the film does hold back some small details to keep the audience from knowing too much too soon. And the ending is thankfully free of ridiculous cliches or unbelievable plot resolutions, resulting in a refreshing change for your dollar.

Best Supporting Actress of 2011?

Despite all these great things, How The Descendants really surprises is by truly becoming more than the sum of its parts. Between the excellent acting, superb storytelling and deft direction (proving Payne has what it takes to make a truly great film), this film manages to crack the year's Top 10, coming in at number 10. Not bad for a film I had discounted early on, proving that prejudgment of a film or the quality of its trailer have no basis in how the final product will finally be. As for Clooney and company, if you're one of those people who watch all the Oscar films. than The Descendants was probably already occupying a solid portion of your radar. If not, take the time and see this truly worthy title.

Electoral Foul-Up

To hear the industry tell it, Ryan Gosling is the hottest actor in Hollywood as you read this. While much consternation was raised earlier this year over Gosling’s apparent Oscar snub for his role in the indie drama Blue Valentine nobody can doubt the attention he has earned in 2011, in which he has had arguably his biggest year to date. In fact, today marks the third review I’ve written in three months that has starred the young actor, the first two being the romantic comedy Crazy Stupid Love with Steve Carell and the noir crime drama Drive. With The Ides of March, Gosling takes on the world of political intrigue in a film directed by co-star George Clooney. Clooney knows what it’s like to be the hot hand of Hollywood, as he has managed to build a strong career based especially on his charisma and excellent acting. Clooney has had twenty-five years to ascend to that status, with his starring turn in the CBS medical drama E.R. and a robust film resume that has seen plenty of misses but even more hits, and he was a huge reason films like Out of Sight, Michael Clayton and the Oceans trilogy were so well received. His directing career, however, has been a different story. While 2005’s Good Night and Good Luck was a true gem (and probably would have won its best picture nomination had Crash not come out the same year), other films directed by Clooney have been far from well received. Still, the good will Clooney has generated from audiences goes a long way, and his latest attempt behind the camera takes one of the more talented young men in Hollywood to see what he can do with Mr. Gosling.

Wait, does that sign say George Clooney is Evil? Blasphemy!

Based on Beau Willimon’s play Farragut North, the story follows Stephen Meyers (Gosling), the junior campaign manager for Democratic Presidential hopeful Mike Morris (Clooney). Having served on more electoral campaigns than most have by the time they are forty, Stephen is a true believer in the Governor of Pennsylvania. He believes that Morris is not only the best candidate for whom he has worked, but the only one who can and will actually make a change for the good of the country. Currently they are campaigning alongside senior campaign manager Paul Zara (Philip Seymour Hoffman) in Ohio, hoping for a victory in the Primaries here that will easily secure the Democratic nomination. But while this is going on, Stephen discovers a secret that not only throws his confidence in Morris in doubt, but could officially end the Governor’s political career. Now he must determine which is the better option: making sure his flawed man reaches the White House, or throwing in with the competition and rival Tom Duffy (Paul Giamatti) to make sure that Morris doesn’t reach that goal.

Sadly, Clooney's inspiration did not help "Bring the Sexy Back" to the campaign trail

If you want to enjoy The Ides of March, you might have to love politics. I’m not saying this because the film is unapproachable to those who don’t, but the learning curve is certainly steep enough for the uninitiated. The actors involved toss out factoids concerning political history almost at random, and though they are no doubt at least somewhat essential to understanding the scene they are almost completely forgotten by the time the closing credits rolled. You can either take in these random bits of information as a pure sideline entertainment and by turn having a leg up on your fellow movie watchers, or you can ignore them completely and try to just follow the mood of the story as it goes along. The latter is certainly where most would tread, but unfortunately you can’t get the full campaign experience without trying to understand why the characters act the way they do. Thankfully the major themes are ones that EVERYONE should be able to understand, and that the film succeeds in not completely alienating its audience it a minor victory.

Presidential jaw, Presidential hair... you sure he's not a Republican?

Unfortunately, that’s about all this film can say went right, as even those political aficionados would have little reason to sit through The Ides of March’s entire 101 minutes. Doubtless there are any large number of conflicts in a Presidential campaign, but why on Earth did Clooney and company have to make the entire thing so DULL? Perhaps it’s not entirely his fault, and the Willimon play is at least part of the problem. That still doesn’t excuse the fact that a film full to the brim with devious schemes, political intrigue, scandals, deception, blackmail and revenge is so utterly uninteresting to watch. What should have been keeping me riveted to my seat instead kept me waiting for something, ANYTHING to happen. With surprisingly horrid pacing, I simply didn’t care about this candidate, this election or any of the underpinning issues that went into it, and that is certainly the fault of the filmmakers.

Some people will just never be happy

At least an excellent cast has been brought in to somewhat raise the level of the tepid script. Gosling once again argues that he belongs in Hollywood’s upper echelon. While not near as memorable as his previous starring roles, he is still perfectly cast as the closest thing the audience has to a hero. Stephen is smart, talented, charming and experienced, and should be easy to root for. Even when his character’s morals and methods change, Gosling is entirely in control. Easily the rising star of 2011, his dedication to roles like this should cement his future superstardom. Clooney as a Presidential candidate is not all that different from Clooney in the public eye: he’s charming, looks the part and can speak publicly with the best of them. In short, Clooney carries the perfect political persona. His performance might be a little on the nose (and therefore lacking the diversity to be interesting) but since many celebrity hounds already see him as a potential Presidential front runner, he was in fact the best choice for the role. Philip Seymour Hoffman has always been a strong character actor. Once again however he is an actor straining to be free from the confines of a singularly rote character, even one with some devious methods all his own. Hoffman is most certainly too much actor for the part he plays, but he still brings a ton of professionalism and talent to the cast. Possibly shining most brightly is Paul Giamatti as an unscrupulous campaign manager who tries to tempt Stephen to joining the other side. Smarmy and duplicitous, it’s easy to pin the main antagonist tag on his head, and it’s difficult to believe that this is the same guy who was the hero of this year’s indie dramedy Win Win. Like Hoffman, he’s one of the most talented character actors in Hollywood today. Others who contribute are The Wrestler actresses Marissa Tomei and Evan Rachel Wood. Tomei is a political journalist for the New York Times, while Wood plays an intern and romantic interest for Stephen. Both have their roles to play, and while Tomei is limited in scope for her character, Wood turns out to be almost a kindred spirit to Gosling, and the attention that gets focused on her is not put to waste in even the slightest fashion. Jeffrey Wright is another talented performer, but unfortunately his character – an Ohio politician whose endorsement would be essential to Morris’ victory – harbors too much of a vibe copied from baseball Hall of Famer Reggie Jackson (right down to the facial hair), with his own aspirations above that of the people he represents.

Sadly, Morris' other slogan "Hope" was already taken

Clooney might be responding somewhat to much of the populace thinking he’d be a great political frontrunner (and he might at that), but in The Ides of March he presents so jaded and dark a vision of the American political system that there is really no cause for even the smallest hopes of purity to arise. Between that, the bland dullness of a script, too many cliched characters and sheer lack of imagination (they reuse a famous scandal to try and move the story forward) take this film from being one of the big contenders of 2011 to somewhere amidst the pack of wannabes. When a political thriller doesn’t particularly THRILL, it’s a cause for serious concern, and this title has the feel of a half-baked drama that was rushed out the door. Sadly, this might even be the wrong time for The Ides of March to be released, as the demonstrations occurring across the country suggests that people have had their fill of corruption for the time being. The Ides of March is not Oscar worthy, but it does have enough going for it to perhaps fool many into thinking otherwise. If you’re big into politics and want to see a bunch of talented actors do what they do so well, this film will whet your palate nicely. If not, then when I see you next we can move on.

Proud to be The American

I can't say I've been a fan of George Clooney for very long. I don't think I've ever seen an episode of E.R. with him. I tried watching Out of Sight years ago and gave up on it. I haven't seen The Perfect Storm, O Brother Where art Thou, Three Kings or Syriana. I haven't watched seen any of the Oceans films, that's how little of his career I've actually witnessed. But I have liked the little bit I've been privy to. He was great in his first big Hollywood film, From Dusk till Dawn. He was a big part of why the live telecast Fail Safe was so enjoyable. I loved his roles in the great films The Thin Red Line and Good Night, and Good Luck. And Up in the Air was an amazing movie for which he might have won an Oscar had he not been up against Jeff Bridges and Colin Firth at the time. There can be little doubt as to his talents as an actor, especially with his particular mix of acting talent, charm and sex appeal, so I'm happy to start paying attention to the man's career with 2010's The American, his indie thriller set in the mountains of beautiful Italy. The film is based on Martin Booth's book A Very Private Gentleman, originally released back in 1990.

Not exactly in a vacationing mood, is he?

In The American, George Clooney plays Jack, a hit-man recently chased out of hiding in Sweden by men seeking to take him out of the picture. His respite ruined, Jack returns to Rome, where his handler sends him into hiding in rural Italy, the literal middle of nowhere. There, he calls himself Edward and befriends both a priest (Paolo Bonacelli) and a prostitute (Violante Placido). Jack, paranoid of the world around of him and trying to get out of the game, is tasked with one more job before he can escape forever.

Focus on the pretty one... oh, right.

The film appears on the surface to be a normal spy thriller, but as you watch it somehow doesn't feel like one. Indeed, when I was watching the special features on the film's DVD, it's stated by director Anton Corbijn that it is in fact a modernized western, which actually makes a lot of sense. Rural Italy is not unlike the old west in its wide open spaces, untapped beauty and the almost ghost-town atmosphere of the villages outside of tourist season. Jack's journey for redemption and an escape from his past are popular themes in westerns, and even his friendship with the priest and prostitute are for needs both spiritual and physical that he doesn't get from his lonesome, outlaw life. When you begin to think of the film in this way as a current-day western instead of just another spy movie, you can appreciate it's intricacies so much more than you might normally. Corbijn may be relatively new to directing, but uses his experience as a professional photographer to effect that far outpaces the tenets of his job. Every shot is perfect - notice I don't say beautiful, as sometimes the perfect shot needs to be ugly - and he obviously put a lot of thought into every single scene before committing it to film.

Oh, boys and their toys!

You could be justified in saying that The American starts George Cloony "and a bunch of European actors you don't know" but the film is at least partially successful due to the talents of that support cast. Johan Leysen plays Pavel, Jack's mysterious handler. While Jack seems to show remorse for some of his actions, it's obvious from Leysen's performance Pavel has little to no compassion in his system, and seems to be annoyed at Jack's apparent loss of edge. Paolo Bonacelli has been acting in film since 1964, but you likely haven't seen him unless you happen to frequent Italian cinema. His role of Father Benedetto tries to get Jack to confess his sins and repent, seeing through the disguise since he himself knows about the sins of man. Bonacelli's performance suffers slightly from having to speak mostly English throughout the film, but otherwise is well cast here. Another assassin is played by Dutch actress Thekla Reuten, who you might have seen before; she was the female assassin Sayid had an affair with in the fourth season Lost episode "The Economist." Here the beautiful Reuten plays another tough woman, obviously a young up-and-comer in the death-dealing trade. She does a great job not letting the audience too far in, keeping her secrets and still seeming open and honest compared to the insular Jack. The gorgeous Violante Placido seems young enough that she wouldn't have a lot of acting experience, but the Italian actress and singer actually has film history in spades and puts it to great effect here. As Clara, the "prostitute with a heart of gold" might seem like a trite role at this point, but she pulls it off nicely and her work with Clooney is pretty damn good. One particular scene is a startlingly strong sex scene in which she sets the mood for the entire scene with the camera almost exclusively focused on her. She's a charming, talented actress and manages to be the heart of the film. Finally we get to Clooney, who actually puts on a restrained face as the assassin whose history seems to be jumping back to bite him after so many years. Clooney plays the grim, emotionless hit-man when he needs to, but his legendary motormouth is conspicuously absent and the emotion on his face throughout makes for one of his more unique roles. It might not be his best performance, but being so different from his previous roles it's certainly one that commands attention.

Doug Ross's Doctors without Borders run didn't work as planned

The film is not without its faults. While much of the film takes place in one Italian town of Castel del Monte, Jack seems to travel to other towns to broker business. It's not clear when he's in a particular town or why at any given time, however. This is a small and mainly unimportant pacing problem. Also a bit off is the introduction of Clara, whose intro is shoved into an interceding five second scene included solely to plug her into the story. Most against the film, however, is it's predictability. I figured out in the first five minutes what the film's big twist would be, and while The American was still an interesting film to watch, the weight of knowing what was coming was too much a distraction to fully appreciate. I thoroughly enjoyed this movie, with The American's expert camera work and great cast getting most of my positive attention. It was also great to see Italy's beauty on film, just begging to be visited. It might not be the best Clooney film out there, but its certainly one you won't regret seeing on the way to watching his bigger, better fare.